|
3. Krishna Leaves Radha Northern India, Punjab Hills, Guler ca. 1790 Opaque watercolor and gold on paper 8-1/4 x 5-1/2 inches (21 x 14 cm) |
This painting is a masterful example of the refined style of late-eighteenth-century Guler painting. The elongated, attenuated form of the figures is an enduring characteristic of the style of the earlier Guler master, Nainsukh. The emotional weight of the scene is effectively balanced by the lyrical treatment of the background, as a gentle breeze stirs stylized ripples across the silvery surface of the river. The restrained palette is also in keeping with the affecting mood of the painting with its grays, whites, and softened primary tones of yellow and orange. The love story of Radha and Krishna was like a roller coaster ride with all of its tremendous highs and seemingly bottomless lows. In this fine painting, it seems that the lovers have once again hit a definite trough and the resultant tension is thick and palpable. With her whole body expressing her hurt, Radha folds into herself in dejection. Her legs are tucked up close to her and her eyes are downcast. Her hennaed finger is held despondently up to her cheek, while her left hand absently fingers the edge of her seat. If only Krishna would turn back! But, there may be a chance. Although his back is turned to her, he has also brought one hand up to his face in a gesture of reflection. Is he regretting what he may have said to his love in the heat of argument? Or, is he instead privately pleased with himself? The complexity and mystery of love remains unanswered. Detail: Radha |